written by Ben Hogwood

What’s the story?

The fourth album from Methyl Ethel sees a slight shift in direction. Announced in January, it sees the band break from the 4AD label to move to Future Classic, and it sees an elevation for Jake Webb to take a more prominent role of front man, not too dissimilar to Oli Alexander’s way of thinking with Years + Years.

Are You Being Haunted? looks to bring out more of the band’s electronic side, while returning to the studio where they made their first records. This is a significant nod to the passing of a dear friend who Webb recorded with at the time.

What’s the music like?

Smart, chic and extremely enjoyable. There are some excellent songs here, tightly packaged and produced with a knowing hand. Proof is especially good, its winning couplet “What can you see now?” dressed with sweeping strings. “My head is heavy, I’ve had awful dreams!” sings Webb. Something To Worry About is great power pop on a larger scale, strutting its stuff with a stately tread. Kids On Holiday is similarly inspired, with torch song lyrics and occasionally irregular rhythms.

Neon Cheap is if anything even better, making a lasting impression with its sharp couplets and catchy hooks. Matters zips along, showing the strength in depth of the album as it leads onto the epic Castigat Ridendo Mores, which has a wall of sound at the heart of its chorus. Finally In A Minute, Sublime, offers a questioning coda, by turns elegant and powerful.

Does it all work?

Yes – because the Methyl Ethel approach is an ‘all killer, no filler’ variety. The album is a compact design, clocking in at around 40 minutes, and packs plenty of incident and verve into that time.

Is it recommended?

Yes, enthusiastically. The new chapter looks set to be a fruitful one for Methyl Ethel, and with Are You Being Haunted? it is off to an auspicious start.

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What’s the story?

Francis Harris has already delivered a brace of thoughtful electronic albums in Lelend (2012) and Minutes of Sleep (2014), where he has considered some of our slowest moving and abstract ‘virtualities’. The train of thought continued with two albums as half of the Aris Kindt duo, but now Harris turns back to a solo identity for Thresholds.

In it, he ‘aspires to sonic universality and the presentation of a fully formed psychoacoustical world’, though it is not an ‘album of ideas’. In the commentary from his label, ‘inspired by the ecological and political upheavals of the present and the role of speculative thought as an avenue of global transformation, Thresholds is the work of a mature artist fully in control of his powers’.

What’s the music like?

While it is certainly important to consider the elements above, Thresholds stands on its own two feet for the listener who is completely new to its thoughts and sound worlds.

Often these worlds cross over, the album acting as the sonic equivalent of being on a train journey, or standing still while observing an object pass against overhead against a starry backdrop. The most effective tool here is the wide range of percussion, some of it very subtle, that Harris has at his disposal. The instruments and sounds, both acoustic and electronic, decorate the slow awakening of Useless Machines, then pepper Rebstock Fold with what feels like spots of electronic rain as a slower moving sequence of chords takes hold.

Harris keeps a background haze to proceedings, while a variety of musical languages unfold in the foreground. Many of these are slow moving, honing in on certain details, such as the muffled trumpet solo or vocal snippets that feature in Earth Moves. The dappled colours created by the music are often softly mesmerising. The title track, for instance, has digital chattering in the foreground while chords shift slowly in the background. The trumpet reappears on Speculative Nature Of Purposive Form as part of a largely static soundscape, but Cut Up responds to this with a good deal of nervous energy, its percussive buzzing suggesting an outlying jazz influence.

Does it all work?

Yes. These thoughtful compositions are consistently engaging but work as a whole in shifting the focus of the mind to calmer areas, the listener taking in the musical activity around the stereo picture but able to let it run on its way simultaneously.

Is it recommended?

Yes – Francis Harris makes ambient music with a difference, its intricate construction creating all sorts of moving patterns that the listener can either latch on to or allow to run free. Its imaginative colours and textures reveal something different with each encounter.

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